Wealth and Status in Indo-Islamic Intellectual Traditions

Mémoire de master en études urbaines, 2020

Pendant longtemps, Lyon a été perçue comme une ville triste et grise : aujourd’hui elle arbore des ocres, roses et rouges, autant de couleurs qualifiées de « florentines » ou d’« italiennes ». Le mémoire vise à démontrer comment, depuis les années 1960 et la création du secteur sauvegardé du Vieux-Lyon, s’est structurée une véritable politique de coloration des façades, comment celle-ci a permis à la ville de s’inscrire dans la compétition mondiale des métropoles — caractérisée par l’apparition des phénomènes comme le tourisme de masse et la gentrification notamment — en soignant l’image de son cadre bâti et en invoquant l’imaginaire de la Renaissance italienne. Du développement de la pratique des murs peints aux projections lumineuses de la Fête des Lumières, en un demi-siècle, Lyon s’est créé un secteur économique qui lui est propre — une « filière couleur » — et un savoir-faire qu’elle exporte à l’international. Lyon has long been perceived as a sad and gray city: today it sports ocher, pink and red, which may have qualified as “Florentine” or “Italian”. The thesis aims to demonstrate how a real policy of coloring façades has been structured since the 1960s and the creation of the safeguarded sector of Vieux-Lyon. This has enabled the city to enter the international competition of metropolises — characterized by the appearance of phenomena such as mass tourism and gentrification in particular — by taking care of the image of its built environment and by invoking the imagination of the Italian Renaissance. Lyon has created its own economic sector in half a century and a know-how that it exports internationally with the practice of painted walls and the Fête des Lumières.

Celebración y sonoridad en Hispanoamérica (siglos XVI-XIX), 2020

Es un hecho repetido en múltiples ocasiones a lo largo del tiempo, que los compositores españoles tenían a gala su gran capacidad técnica y expresiva para, ateniéndose a las normas establecidas por la armonía y el contrapunto, representar enfáticamente "lo que la letra pidiere", en el ámbito de la oratoria (Ars bene dicendi) y de la explotación retórica del material musical, siempre en aras de la expresividad. Pero no por ello, los verdaderos "maestros" en la disciplina dejaron, en ocasiones, de utilizar "licencias", -unas "travesuras" efectuadas con mesura y bien meditadas-, incluso como muestra de su pericia y habilidad, que fueran capaces de las sonoridades más insospechadas e inauditas. Andrés Lorente, organista, decano de la Facultad de Artes de la Universidad de Alcalá y célebre tratadista en el terreno de la teoría musical, ya elogiaba el empleo de la disonancia con estos fines, que, aquí, veremos aplicado a un caso concreto: un "rasgo" de órgano a partir de un "intento cromático" del catalán José Elías (1687c-1755c) , profesionalmente activo en la corte madrileña desde 1725. Se trata de una obra de cierta extensión, que responde a una tipología compositiva poco frecuente, pero que, destaca notablemente por el empleo que hace del recurso cromático y por el peculiar sentido de la mencionada disonancia, lo que la hace particularmente atractiva. La pieza que se presenta, se ha rescatado recientemente del archivo de música de la catedral de La Seu d'Urgell y se ofrece aquí como primera edición realizada a partir de dicha fuente documental. It is a fact repeated on many occasions over time, that Spanish composers displayed their great technical and expressive capacity to, adhering to the rules established by harmony and counterpoint, emphatically represent "what the lyrics ask for", in the field of oratory (Ars bene dicendi) and the rhetorical exploitation of musical material, always for the sake of expressiveness. But not for that, the true "masters" in the discipline stopped, on occasions, using "licences", -some "mischief" carried out with measure and well thought out-, even as a sign of their expertise and ability, that they were capable of the most unexpected and unheard sounds. Andrés Lorente, organist, dean of the Faculty of Arts at the University of Alcalá and famous treatise writer in the field of music theory, already praised the use of dissonance for these purposes, which, here, we will see applied to a specific case: a organ "feature" (rasgo) from a "chromatic attempt" (intento) by the Catalan José Elías (1687c-1755c), professionally active in the Madrid court since 1725. It is a work of some length, which responds to an unusual compositional typology, but which stands out notably for the use it makes of the chromatic resource and for the peculiar sense of the aforementioned dissonance, which makes it particularly attractive. The piece presented here has recently been rescued from the music archive of the cathedral of La Seu d'Urgell and is offered here as the first edition made from said documentary source.

2020

Crítica, 2020

Tradução de 'Reading as a philosopher' de David W. Concepción, publicada originalmente na The Philosopher's Magazine. Tradução publicada na Revista Crítica: https://criticanarede.com/lercomofilosofo.html.

Kelle Paça Çorbası Nedir? Kelle Ve Ayaklar Nasıl Ütülür?

Bilinen en eski kayıtlara göre kelle ve ayakların en eski Türk obalarında, Anadolu halk mutfağında mevlevi mutfağında, Selçuklu mutfağında ve istanbul mutfağında dahi dağlanarak çorba olarak tüketilmiştir. Osmanlı saray mutfağı maaş defterlerinde de daha net olarak gördüğümüz “kelleciler” isimli görevlilerin olduğu bir gerçektir. Devrin en bilgili gurmesi diyebileceğimiz ve almış olduğu notlarından ve konak defterlerinden faydalandığımız Muhsinzade Mehmet Paşanın valilik yıllarındaki defterlerine baktığımız zaman dağlanan ve pişirilen kelle ve paçaların üzerine sinek konmaması için tül bez ile kaplanmasının mecburi olduğu ve eldiven takmayan aşçılara farklı cezalar verildiği hatta kırbaç cezasına dahi mahkum edildikleri kayıtlarda mevcuttur.